In the contemporary world of Hanfu (traditional Chinese clothing) revival, if there is one garment that claims the title of "Most Popular," it is undoubtedly the Po Skirt (Po Qun). Whether at historical landmarks in Xi'an or modern Hanfu gatherings in New York, you will invariably see these skirts—colorful, flowing, and swaying with an undeniable grace.
Many enthusiasts love the Po Skirt for its almost magical ability to make the wearer look "twenty pounds lighter" instantly. Others adore it for carrying the opulent and romantic DNA of the Great Tang Dynasty. But what exactly is a "Po"? Is the skirt actually "broken"? How has this garment evolved over two thousand years?
Today, we dive deep into the history, craftsmanship, and geometric secrets of the Po Skirt—the ancient garment that has captured the hearts of modern women.
I. Definition and Origins: A Game of Geometric Cloth
When newcomers to Hanfu hear the term Po Qun (破裙), they often misunderstand the character "Po". In modern Chinese, it usually means "broken" or "torn." However, in the context of ancient textile terminology, "Po" is a verb meaning to cut or to split.
The Po Skirt, historically known as the Jiaoyu Skirt (交窬裙) or Jiaoshu Skirt (交输裙), is defined by a specific tailoring technique: trapezoidal splicing.
Imagine taking a rectangular piece of fabric and cutting it diagonally to create multiple trapezoidal panels that are narrow at the top and wide at the bottom. When these panels are stitched back together, the result is a natural fan-shaped structure—tapered at the waist to fit the body, but exploding into a magnificent, wide hem at the bottom.
- The "Po" Count: The name of the skirt is often derived from the number of panels used.
- Six panels stitched together? That is a "Six-Po Skirt" (Liu Po Qun).
- Twelve panels for extra volume? That is a "Twelve-Po Skirt" (Shi'er Po Qun).
- If the exact count is unknown, it is simply referred to as a "Multi-Po Skirt".
This technique dates back to the Pre-Qin period (before 221 BC). It was not just a fashion statement but a stroke of mathematical genius. By deconstructing and reconstructing the fabric, ancient tailors broke the rigidity of the straight-tube skirt, endowing the garment with fluidity and life.
II. Historical Evolution: From Wei-Jin Etherealism to Tang Opulence
While the concept of the Po Skirt existed early on, it wasn't until the Han Dynasty that the terminology began to solidify. The evolution of this skirt mirrors the changing status and aesthetic tastes of Chinese women throughout history.
1. The Wei and Jin Dynasties: The Waist-High Elegance
During the Wei, Jin, and Northern and Southern Dynasties, the Po Skirt was primarily worn in the Qiyao style (tied at the waist). The aesthetic of this era favored "Metaphysical" coolness and etherealism. The skirts were often adorned with small ruffles or frills at the hem, creating a floating sensation as the wearer walked. The "Inter-color" (color-blocking) technique also began to appear, laying the groundwork for the explosion of color in the Tang Dynasty.
2. The Sui and Tang Dynasties: The Golden Age
The Tang Dynasty was the heyday of the Po Skirt. It became the "White Moonlight" (the ultimate ideal) of Tang women. In this era, the wearing style shifted dramatically from waist-high to Qixiong (tied above the chest/bust). This shift changed the entire silhouette of the female form. The high waistline elongated the lower body, while the vertical lines of the Multi-Po Skirt created a towering, majestic visual effect.
3. The Phenomenon of the "Inter-Color" Skirt (Jianse Qun)
If you look at paintings or pottery figurines from the Tang Dynasty, you will notice a striking trend: stripes. Tang women loved Inter-color Splicing (Jianse). They would alternate panels of different colors—red and white, green and white, or yellow and red.
- Visual Magic: These vertical stripes act like modern contouring. They guide the eye up and down, making the wearer appear significantly taller and slimmer.
- The "Twelve-Po" Luxury: The more panels a skirt had, the more fabric it required, and the more intricate the sewing. A "Twelve-Po" skirt made of fine silk was a status symbol.
4. The Emperor's Ban: When Fashion Became "Too Much"
The Tang Dynasty trend for skirts was "the more pleats, the better" and "the wider, the better." Skirts became so voluminous and the splicing so intricate that it required immense labor and expensive silk fabrics like damask and gauze. This extravagance eventually alarmed the imperial court. Emperor Gaozong of Tang actually issued an edict reprimanding this fashion trend. He banned the production of excessively wasteful Inter-color skirts, citing that they "wasted labor and materials." However, historical records and murals suggest the ban was only partially effective. The pursuit of beauty was hard to legislate against. While the ultra-intricate multi-colored skirts faded slightly in the later Tang period (giving way to solid colors or simpler patterns), the fundamental love for the Multi-Po skirt remained.
5. Archaeological Evidence
We don't just rely on texts; we have proof.
- Murals: In the tombs of Lady Wei and Lady Yan, murals depict women in exquisite red-and-white and green-and-white striped long skirts.
- Textiles: In Xinjiang's Turpan area, archaeologists discovered a physical Eight-Po Skirt. The skirt used the famous "Yunjian" (Halo-dyeing/Gradient) technique. The fabric wasn't just striped; it featured complex color transitions woven directly into the brocade—a technique literally described as "adding flowers to the brocade" (Jin Shang Tian Hua).
III. Craftsmanship and Structure: The Science of Beauty
The Po Skirt is a triumph of structural engineering in fashion. Its longevity in fashion history is due to its functional benefits as much as its beauty.
1. The "A-Line" Blueprint
Every panel in a Po Skirt is a right-angled or isosceles trapezoid. When stitched together:
- The Waist: The narrow tops of the trapezoids come together to minimize bulk at the waist/chest. Unlike pleated skirts, there is no thick bunching of fabric.
- The Hem: The wide bottoms of the trapezoids join to create a massive circumference—sometimes exceeding 3 or 4 meters.
- The Result: A natural A-Line silhouette that fits smoothly over the hips but allows for grand, sweeping movements.
2. The "Jiaoyu" Cutting Technique
The term Jiaoyu refers to the method of bias cutting. By cutting the fabric at an angle to the grain (the bias), the cloth gains elasticity and drape that straight-grain fabric lacks. Tang tailors mastered this. They would often adjust the warp and weft direction of the panels to ensure the skirt hung heavily and smoothly, preventing the "twist" that sometimes happens with cheap bias-cut skirts. They also employed "Xiu Bai" (Hem Trimming)—trimming the jagged sawtooth edge formed by splicing trapezoids into a smooth, curved hem.
3. The "Anti-Slip" Invention: Ancient Suspenders
One of the biggest complaints about modern Qixiong (chest-high) Hanfu is that it slides down. Modern merchants invented transparent shoulder straps to fix this. Surprisingly, Tang Dynasty women beat us to it. Historical artifacts and paintings clearly show straps attached to these long skirts, hung over the shoulders. This practical addition allowed women to wear heavy, voluminous skirts without fear of wardrobe malfunctions, especially when dancing the vigorous "Sogdian Whirl" dances popular at the time.
4. Variations: The Mofu and Asymmetry
- The Mofu (陌腹): This was a shorter, wrap-around skirt, essentially a "mini" Po Skirt worn over the main long skirt. It added layers and complexity to the outfit.
- Asymmetrical Designs: Tang fashionistas were experimental. Records show skirts where bias-cut panels (Jiaoyu) were mixed with straight-cut panels. This created a skirt where one side draped smoothly while the other flared out in a radial pattern, creating a dynamic, avant-garde look.
IV. Distinguishing the Po Skirt: Not All Hanfu Skirts Are Created Equal
In the vast world of traditional Chinese attire, it is easy to confuse different skirt types. Here is how to identify a true Po Skirt.
1. Po Skirt vs. Pleated Skirt (Zhe Qun)
This is the most common confusion.
- The Pleated Skirt (Zhe Qun): Relies on manually pressed folds (like knife pleats or box pleats) to reduce the waist width. The fabric is usually rectangular panels sewn together, then pleated.
- The Po Skirt: Relies on splicing. The "pleats" you see in a Po skirt are actually just the natural drape of the fabric caused by the trapezoidal cut. There are no hard-pressed creases.
2. Po Skirt vs. Song Dynasty Skirts (Sanjian & Baidie)
The Song Dynasty followed the Tang, and styles evolved.
- The Pleated Skirt (Zhe Qun): Relies on manually pressed folds (like knife pleats or box pleats) to reduce the waist width. The fabric is usually rectangular panels sewn together, then pleated.
- The Po Skirt: Relies on splicing. The "pleats" you see in a Po skirt are actually just the natural drape of the fabric caused by the trapezoidal cut. There are no hard-pressed creases.
V. The Legacy of the Po Skirt
From the early experiments in the Warring States period to the dazzling, high-waisted splendor of the High Tang, the Po Skirt (Jiaoyu Skirt) represents a pinnacle of ancient Chinese fashion.
It is a garment that understands the human body. It uses geometry to flatter the figure, mechanics to allow for movement, and color to express emotion.
- Six Panels for simplicity.
- Eight Panels for balance.
- Twelve Panels for grandeur.
Today, when a modern woman puts on a reproduction of a Tang Dynasty "Inter-color Twelve-Po Skirt," she is doing more than playing dress-up. She is stepping into a legacy of innovation. She is experiencing the same confidence that a Tang court lady felt as she walked through the gardens of Chang'an—her skirt swinging like a blooming flower, her silhouette tall and proud, "swaying like the wind returning to the snow."
The Po Skirt is not just a piece of history; it is timeless geometry, woven into silk.